Idomeneo

[aesthete8]

Do you have a favorite recording of that opera?

[Matthew B. Tepper]

aesthete8 <art...@gmail.com> appears to have caused the following letters to
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> Do you have a favorite recording of that opera?

Strangely enough, I see I have never replaced my LPs of Sir Colin Davis'
recording for Philips. I must do so if I ever see it as a separate release.
And I suppose I should probably also buy René Jacob's recording to go with
all his other Mozart opera recordings.

--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
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[Andrej Kluge]

Hi,

Matthew B. Tepper wrote:
> Strangely enough, I see I have never replaced my LPs of Sir Colin
> Davis' recording for Philips. I must do so if I ever see it as a
> separate release.

This one?

http://www.amazon.com/Mozart-Idomeneo-Hendricks-Alexander-Heilmann/dp/B00000411I/

or

http://www.amazon.com/Mozart-Idomeneo/dp/B0018NTNHO/

Ciao
AK

[wkasimer]

On Jul 21, 10:53 am, "Andrej Kluge" <kl...@wizzy.de> wrote:
> Hi,
>
> Matthew B. Tepper wrote:
> > Strangely enough, I see I have never replaced my LPs of Sir Colin
> > Davis' recording for Philips.  I must do so if I ever see it as a
> > separate release.
>
> This one?
>

> http://www.amazon.com/Mozart-Idomeneo-Hendricks-Alexander-Heilmann/dp...
>
> or
>
> http://www.amazon.com/Mozart-Idomeneo/dp/B0018NTNHO/

Could be this one, too:

http://www.amazon.com/Mozart-Idomeneo/dp/B00000E3I9/ref=sr_1_fkmr2_1?ie=UTF8&qid=1279725032&sr=8-1-fkmr2

Bill

[wkasimer]

On Jul 20, 11:28 pm, aesthete8 <art...@gmail.com> wrote:

> Do you have a favorite recording of that opera?

Live early 90's Met broadcast, with Heppner in the title role - and he
was spectacular. It's a pity that DG chose to employ Domingo for the
commercial recording around that time. Perhaps they sold a few more
copies that way, but musically, the set is ruled out (at least for me)
by the absence of the "real" Fuor del mar.

Among commercially available recordings, Jacobs. As I recall, the
Gardiner is also pretty good, and if it weren't for the grossly
miscast Ian Bostridge in the title role, the EMI with Mackerras would
be worth a listen, too.

Bill

[Matthew B. Tepper]

wkasimer <wkas...@comcast.net> appears to have caused the following

letters to be typed in

news:7cde69f7-3295-410b...@y11g2000yqm.googlegroups.com:

Yes, Bill, I actually was thinking of the earlier one, which corresponds to
the LP set long in my collection. It would also be nice as a memento to
George Shirley as a Mozart singer, considering that he sang Tamino in the
very first staged opera performance I ever saw "live."

[aesthete8]

On Jul 20, 5:28 pm, aesthete8 <art...@gmail.com> wrote:
> Do you have a favorite recording of that opera?

Any reactions to this?:

http://www.amazon.com/Mozart-Idomeneo-Thamos-Box-Set/dp/B00009UW0L/ref=sr_1_2?ie=UTF8&s=music&qid=1279939930&sr=8-2-catcorr

[Christopher Webber]

Matthew B. Tepper <?@earthlink.net.invalid> writes:
>I actually was thinking of the earlier one, which corresponds to the LP
>set long in my collection. It would also be nice as a memento to
>George Shirley as a Mozart singer, considering that he sang Tamino in
>the very first staged opera performance I ever saw "live."

It was a wonderfully involving and driven performance, with Pauline
Tinsley as well as Shirley extremely satisfying, and nothing much wrong
with Margherita Rinaldi's Ilia either.

The two major snags, though, were (1) the use of a tenor Idamante, which
ruined the balance in ensembles (and in any case Ryland Davies's sweet
lyric tone is prone to less than marginal flatness); and worse (2) it is
very significantly cut.

In spite of this, I find that I get my old LP set out from time to time.
It makes a theatrical supplement the English-language DVD of the
Britten/Pears version, and the Eliot Gardiner "library benchmark" CD
version.
--
___________________________
Christopher Webber, Blackheath, London, UK.
http://www.zarzuela.net

[JAC]

My preference is the John Eliot Gardiner recording, with pretty
comprehensive appendices of alternative material and a fine cast (the
late ARJ magnificent in the better version of "Fuor del mar," Sylvia
McNair caught during her brief peak, and strong work -- including the
alert, alive conducting -- all around).

I would also like the Harnoncourt if they would reissue it with his
separate LP of alternative material included as appendices, in the
manner of Gardiner. The cast isn't quite as special as JEG's, but more
than acceptable.

I was fond of the first Davis when it appeared, but most of its
"special"ness has been equalled or surpassed in later recordings by
others.

To be avoided is the Böhm, which claims to be based on the Neue
Ausgabe, then cuts it to shreds.

The two Pritchard recordings are dispensible, though the first one has
its place for providing some prime Jurinac. (I've always wondered
whether the second one was initially planned as a Solti project, as he
was working his way through Mozart operas for Decca at the time.)

JAC

[Matthew B. Tepper]

JAC <jonala...@gmail.com> appears to have caused the following letters to
be typed in news:b33a3a91-9c01-43b0-986f-5486f4bf03d6
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> My preference is the John Eliot Gardiner recording, with pretty
> comprehensive appendices of alternative material and a fine cast (the
> late ARJ magnificent in the better version of "Fuor del mar," Sylvia
> McNair caught during her brief peak, and strong work -- including the
> alert, alive conducting -- all around).

Doesn't JEG cut quite a lot of the recitatives?

--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
Read about "Proty" here: http://home.earthlink.net/~oy/proty.html
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[Christopher Webber]

Matthew B. Tepper <?@earthlink.net.invalid> writes:

>Doesn't JEG cut quite a lot of the recitatives?

JEG's very full note begins thus:
"The present recording of Idomeneo gives a composite version of all the
surviving music that Mozart composed for Munich in 1781, apart from a
few secco recitatives, and two variants [the simplified "Fuor del mar"
written for Vienna in 1786, and the perfunctory 9-bar version of the
Oracle's prounouncement]."

As he says, it's impossible to speak of a "definitive" score of the
opera, when co many contradictory cuts and alterations exist even within
the 1780/81 Munich performing score. And of course significant portions
of Act III were never performed in Mozart's time, due to his own
ruthless editing.

JEG gives us a generous compendium version, allowing us to choose from
several alternatives (placed in appendices) too good not to have been
recorded, but which don't fit into the "primary" performing text.

20 years on, I still find this a very satisfying set.

[Matthew B. Tepper]

Christopher Webber <c...@zarzuela.net.invalid> appears to have caused the
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Thanks for clearing that up.

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OT: Tr*ll Tr*sh

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[gggg gggg]

On Tuesday, July 20, 2010 at 8:28:17 PM UTC-7, aesthete8 wrote:
> Do you have a favorite recording of that opera?

(2022 Y. upload):

"Léopold Simoneau; Erika Köth; "Spiegarti non poss'io"; IDOMENEO; Wolfgang Amadeus Mozart"